I’m sorry to articles have been so sparse. To the Star Wars fans out there, let’s just say that certain “imperial entanglements” have become part of the process. I’ll get more articles posted as soon as possible.

To Bill: I’m sorry I don’t know Terry O’Brite.

Thank you!

My question is concerning the actual dynamic of working on the sound design for features..(sorry this is a bit long)

As more creatively stimulating movies hit the big screen and appear to be welcomed by the masses – titles such as Black Swan, Shutter Island, Inception etc.. the attention to sound design as a creative vehicle for story telling comparable to video, seems to make itself more known.  

My question is weather or not you have seen any kind of shift in the relationship between directors / production companies or houses working with directors and producers etc. to really explore the creative possibilities of sound (to really help tell their story!).  

It seems like Wall-E and other animated shorts, the sound designers are brought in much earlier out of necessity, but I’m curious as to weather or not this is done very often in your experiences.  How often do you get to really work with directors?  How often are sound designers consulted for their creative input in the direction of a movie?  How do you know your work is fulfilling their expectations, and when creative liberty of a sound designer is taken, how do you present these ideas to the director? 

Sorry that turned into many questions, but workflow in my mind extends outside of the production of sounds, and even into working with your clients to deliver the sounds you ideally want to be heard – so yes.. any insight to your experiences would be awesome!